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The David Berkman Quartet: Start Here, Finish There
by Rob Cline
A first listening to or first glance at Start Here, Finish There might lead you to one of two false conclusions: that pianist David Berkman is interested only in exploring rigid rhythmic forms or that he is an overtly political musician. But focused listening soon casts those conceptions aside as it becomes clear that Berkman and the members of his quartet—saxophonist Dick Oatts, bassist Ugonna Okegwo, and drummer Nasheet Waits—are far too subtle and expansive to be so easily labeled. ...
read moreDavid Berkman: Communication Theory
by Mark Corroto
The difficult thing about David Berkman’s music is categorizing it. The second outing under his name cannot be pinned down to a specific line of musical tradition, musical artists, or styles. He is as much about a 21st century Brooklyn as he is about Andrew Hill and Wayne Shorter. Although this is a piano-led album, I got the feeling from the opening track “Blutocracy (Blues For Bluto)” that it was conceived from Ornette’s piano-less quartets. Even though his piano backs ...
read moreDavid Berkman: Communication Theory
by David Adler
On his second CD as a leader, pianist David Berkman complements his regular rhythm section, bassist Ugonna Okegwo and drummer Brian Blade, with a triple sax team — Steve Wilson, Chris Cheek, and Sam Newsome. Some might find it difficult to differentiate the three saxophonists, although on many tracks Cheek plays tenor and Wilson plays alto, reducing the confusion to some degree.Berkman’s writing is diversified, intelligent, accessible — and above all, swinging. The band starts cooking right off ...
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